House of Last Things

In the quiet, rain‑kissed neighborhoods of Portland, a sprawling house becomes the quiet witness to a lingering, unspoken tragedy. When a well‑to‑do couple decides to leave the city for a restorative trip abroad, they enlist a pair of temporary caretakers to look after the home. The house itself, with its dim hallways and rooms that seem to echo with the past, sets the stage for a story that blurs the boundaries between what is real and what is remembered.

Alan, a discerning classical‑music critic, carries the weight of a career built on precision and nuance, while his wife Sarah wrestles with the aftereffects of a recent, unsettling ordeal. Their decision to travel to Italy is framed as a chance to heal, yet the subtle tension between them hints at deeper currents that have yet to surface. Their absence turns the house into a capsule of quiet anticipation, allowing the unseen layers of their shared history to ripple outward.

Enter the caretakers: Kelly, who approaches the house with a practical eye, and her companion Jesse, whose presence adds a touch of unpredictability to the modest routine. Alongside them, Tim, a young man with his own challenges, and a shy child named Adam become part of the domestic tableau. As they settle in, the residence begins to reveal fragments of its past—soft murmurs, fleeting images, and an atmosphere that feels simultaneously familiar and uncanny. The house seems to listen, and in return, it invites each occupant to confront shadows that linger just beyond the surface.

The film unfolds as a mind‑bending thriller, its tone woven from muted colors, lingering soundscapes, and a constant hum of uncertainty. It invites the audience to linger in the spaces between memory and present, to wonder how a single home can echo the lives of those who pass through it, and to feel the subtle pull of secrets that refuse to stay hidden.

Last Updated: September 26, 2025 at 04:37